{"title":"凝视Shōjo——川端康成的少女小说(Shōjo Shōsetsu)","authors":"D. Shamoon","doi":"10.1080/10371397.2021.2000331","DOIUrl":null,"url":null,"abstract":"ABSTRACT Kawabata Yasunari (1899–1972), Japan’s first Nobel laureate in literature, is best known today for highbrow novels such as Yukiguni (Snow country, 1935–1947). But in the 1930s and 1940s, Kawabata was deeply involved with the girls’ literary magazine Shōjo no tomo (The girls’ friend) as an editor and an author of novels for girls (shōjo shōsetsu). This article calls for a critical reevaluation of Kawabata’s fiction in terms of his involvement with and appropriation of girls’ culture, through analysis of the novels Otome no minato (The girls’ harbor, 1937–1938) and Utsukushii tabi (Beautiful journey, 1939–1941). Kawabata’s use of the idealized shōjo is consistent in his writing for girls and adults, and is a parallel to the fascist aesthetics and colonial ideology in his work of this time period.","PeriodicalId":44839,"journal":{"name":"Japanese Studies","volume":"41 1","pages":"361 - 377"},"PeriodicalIF":0.4000,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Gazing on the Shōjo: Kawabata Yasunari’s Novels for Girls (Shōjo Shōsetsu)\",\"authors\":\"D. Shamoon\",\"doi\":\"10.1080/10371397.2021.2000331\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACT Kawabata Yasunari (1899–1972), Japan’s first Nobel laureate in literature, is best known today for highbrow novels such as Yukiguni (Snow country, 1935–1947). But in the 1930s and 1940s, Kawabata was deeply involved with the girls’ literary magazine Shōjo no tomo (The girls’ friend) as an editor and an author of novels for girls (shōjo shōsetsu). This article calls for a critical reevaluation of Kawabata’s fiction in terms of his involvement with and appropriation of girls’ culture, through analysis of the novels Otome no minato (The girls’ harbor, 1937–1938) and Utsukushii tabi (Beautiful journey, 1939–1941). Kawabata’s use of the idealized shōjo is consistent in his writing for girls and adults, and is a parallel to the fascist aesthetics and colonial ideology in his work of this time period.\",\"PeriodicalId\":44839,\"journal\":{\"name\":\"Japanese Studies\",\"volume\":\"41 1\",\"pages\":\"361 - 377\"},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2021-09-02\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Japanese Studies\",\"FirstCategoryId\":\"1090\",\"ListUrlMain\":\"https://doi.org/10.1080/10371397.2021.2000331\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q3\",\"JCRName\":\"AREA STUDIES\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Japanese Studies","FirstCategoryId":"1090","ListUrlMain":"https://doi.org/10.1080/10371397.2021.2000331","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q3","JCRName":"AREA STUDIES","Score":null,"Total":0}
引用次数: 0
摘要
川端康成(1899-1972)是日本第一位诺贝尔文学奖得主,以《雪国》(1935-1947)等通俗小说而闻名于世。但在20世纪30、40年代,川端康成作为编辑和女性小说作者,与女性文学杂志Shōjo no tomo(少女的朋友)有着密切的联系(shōjo shōsetsu)。本文通过对川端康成小说《少女的港湾》(1937-1938)和《美丽的旅程》(1939-1941)的分析,从他对少女文化的介入和占有的角度,对川端康成小说进行批判性的重新评价。川端康成对理想化shōjo的使用与他对女孩和成人的写作是一致的,并且与他在这个时期的作品中的法西斯美学和殖民意识形态是平行的。
Gazing on the Shōjo: Kawabata Yasunari’s Novels for Girls (Shōjo Shōsetsu)
ABSTRACT Kawabata Yasunari (1899–1972), Japan’s first Nobel laureate in literature, is best known today for highbrow novels such as Yukiguni (Snow country, 1935–1947). But in the 1930s and 1940s, Kawabata was deeply involved with the girls’ literary magazine Shōjo no tomo (The girls’ friend) as an editor and an author of novels for girls (shōjo shōsetsu). This article calls for a critical reevaluation of Kawabata’s fiction in terms of his involvement with and appropriation of girls’ culture, through analysis of the novels Otome no minato (The girls’ harbor, 1937–1938) and Utsukushii tabi (Beautiful journey, 1939–1941). Kawabata’s use of the idealized shōjo is consistent in his writing for girls and adults, and is a parallel to the fascist aesthetics and colonial ideology in his work of this time period.